A few clunky lines of dialogue aside, the movie mirrors the honorable thief at its center: Methodical, cool, and effective.

Parts recall the muscular intensity of Craig’s debut, Casino Royale. Others evoke painful memories (and specific story threads) from the bloated, digressive Spectre.

This Superman does something more impressive than make the audience believe a man can fly. It makes them care about the man doing the flying.

Black Widow functions less as a showcase for the title character and more as a sneaky introduction for Pugh, who is drolly hilarious as the deeply cynical Yelena.

You can’t say The Way of Water doesn’t give you your money’s worth, especially in the visual department. This thing’s got enough eye candy to give you ocular diabetes.

Kelly’s generic characters, stale humor, and dated storyline about the macho father rejecting his gay son have all been done before, and no longer feel relevant.

Nocturnal Animals doesn’t have much substance, but its dazzling style is hard to completely resist.

This derivative sequel might please devoted fans looking for a quick fix of nostalgia, but with nothing new to say, it seems not even Boyle and his cast are sure why T2 Trainspotting exists.

Green serves up everything we love about the first Halloween, completely playing off our nostalgia for the slasher classic, and to me, that’s not necessarily a bad thing.

It may not be as poignant a story as its characters give way to, nor reach the cathartic resolutions it builds towards, but The Family Fang is still a refreshingly creative approach to the family drama.

The final act pickles Jay Kelly’s tragicomic vibe into something more overtly and excessively sentimental.

At 137 minutes, The King of Staten Island is a long movie, but not too long. I never got bored or wanted Apatow to wrap things up. If anything I wanted to spend more time with some of the supporting characters, particularly Bel Powley as Scott’s longtime friend (turned occasional hookup partner) Kelsey.

There were times I wished Freaky was a little bit bolder and more surprising. Still, it’s an entertaining showcase for Vaughn and Newton, and a solid entry in the body-swap canon. In other words, it’s exactly what you think it is, inside and out.

Even though Walker is still present, his absence is already felt. It is strange to watch a movie that is this much fun and this sad all at the same time.

The characters and their relationships are strong and the dialogue is sharp, but the whole thing feels like a minor installment in an ongoing series.

The old masters of early movie stunts who Cruise and McQuarrie so obviously admire knew that sometimes simpler was better.

This movie has a lot on its mind — and perhaps too many characters.

The Girl With All the Gifts is full of surprises. It keeps shifting before our eyes, from atmospheric horror to intense survival thriller to thoughtful contemplation of humanity’s place in our planet’s food chain.

The film deepens the melancholic, existential notes from end of The Trip to Italy, and continues to evolve with its characters emotionally.

It’s raunchy, rowdy and almost completely insane. Unfortunately, it’s just not very funny.

Creed II is very much a Rocky sequel. It’s bigger, louder, and more over the top than its predecessor, with a more formulaic story and more absurd boxing matches. It’s satisfying as a pop confection, but it’s not as special or as rich as its predecessor.

This movie offers very few insights, and has no apparent point beyond mythologizing the early days of a company that doesn’t exactly need assistance in the self-mythologizing department.

The whole production just works. Steinfeld, Lendeborg, and Cena are extremely likable leads, and there’s a soul and an innocence to Bumblebee that was never present in any of the previous Transformers.

The BFG’s sluggish pacing will test even older viewers’ attention spans. The visuals are potent, but the story is never urgent. The crux of the movie, inspiring people to dream, is a noble, beautiful thing. But not when you put them to sleep in the process.

The film is almost as messy as its characters’ love lives, and the early scenes, which take a long time establishing the various subplots, play less like a dramedy than a comedy that could have used more jokes. But the movie gets more earnest and impassioned (not to mention better) as it goes along.

Chip ’n Dale: Rescue Rangers isn’t so much based on the old animated series as it is a relentless mockery of it, along with just about everything and everyone else in soulless modern Hollywood.

It’s not boring and there are a few decent laughs. But it also does feel like exactly the movie you would expect a big Hollywood studio to make from this material.

Unfortunately, Mid90s isn’t anything you haven’t already seen numerous times before.